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October 25, 1974 - Image 5

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The Michigan Daily, 1974-10-25

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Friday, October 25, 104

THE MICHIGAN DAILY

Pare Five

Fridoy, October 25, 1 ~74 THE MICHIGAN DAILY

AP1w Vi. 1FTVe

v

Pick of the week:
The Longest Yard
Michigan
The cruel, brutal life pattern
of a Southern prison seems
like an ideal metaphor, ready cnm
and waiting for some film direcr-
tr to twist it about and create bowl and does an uproarious first three-fourths of this movie In roles they would repeat
a dramatic study of man's ani-1series of sketches for the bene- depicts the various abomina- several times in subsequent
Mal tendencies., t fit of Streisand, who can't fall tions of a motley motorcycle films, Lee and Cushing waste
No wonder, then, that pro- asleep without the "television" gang as they terrorize a small, little of an 88 minute running
ducer Albert Ruddy happily going. Segal's performance pro- isolated village. Marlon Brando, time s p 1 a s h i n g Techni-
pulled out all financial stops vides an excellent contrast to playing the title role, meets and color blood across the screen.
and packed director Robert Al the strident acting of Barbara falls in love with a village girl, The only fault of an other-
rich off to the Georgia State Streisand and enables one to and eventually repents of all his wise exciting horror film is that
PrisDoubtlessly LongesteYard. view the film with at least a sins etc., ad nauseum. Dracula devotes too, much
sotle s kind of definitive master- modicum o plsue Still, go and see this pic- screen time to blood and guts
oe kofdret fmate-MichaelBroidy ture. Brando gives his usual and too little to vampire legend,
nice would return from the. electrifying performance in a and consequently sacrifices at-
have been terribly disappointed Judge Roy Bea vicious, unrelenting portrayal mosphere for action.
with what Aldrich brought back Mediatrics, Nat. Sci. Aud. of the gang leader. Lee Marvi -Chris Kochmanski
instead. Fri., Sat., 7:30, 9:30 also excels as a doped-out psy- *
The Longest Yard is a ver The Life and Times of Judge cho. Finally, despite its powder- T
nice picture yes but it's not at Roy Bean claims to show the | puff ending, this film is an af-'Them-
all what it pretends to be. Piling Wild West, not as it was but as fectig glance ito the motor- Law School Film Series
symbolism upon symbolism, Al- it should have been. It's hard cycle cult that will, at the 100 Hutchins Hall
drich and screenwriter Tracy to imagine who would like to same time, entrance and hor- Fri., 8:30
Keenant Wynn attempt to use live in Judge Roy Bean's times, rify you. What more can you ask for?
that other great American all- though. -George Lobsenz A New Mexico state trooper
purpose metaphor, football, to: The only interesting character * finds a small child wandering
express man's quest for power is a mean albino dressed in L . in the barren desert, apparent-
ndithia black who lifts a pot from a Cdlv in shock, uttering one word:
Sglory r- eenwithin a acfire with his bare hands frmk Cinema ld, rch. Aud. "Them!" And hence the mys-
cramped environment. frwihisbehad, drinks ~ Suni.,7, 9 .tr ei
But the tone of the finished # it, and burps. jtr eis
prduct just is' t l on The film seldom differs from Of all the contemporary film- ryes, it's another chiller from
pirt w'th that stated pre-traditional westerns even makers today, none can prob- the golden years of science fic-
mist. Wynn's meager story though Paul Newman, unlike ably be termed as political and tion, the 'Ss. And this time the
( ddy idgabout most heroes, shoots the albino revolutionary as Jean-Luc God- menacing meanie arrives in the
prom foy s i ea i jut to in the back. The audience gets ard. Virtually abandoning clas- form of giant ants. Uttering
prison football team is just too . sic film theory, Godard's films <<
stereotyped, too far-fetched, and a panoramic view of the tomn si fi ohery, G dsfim something scientific like I
above all, too comedic influenc going to be gory, you ought to between philosophy and cine- had better stopruu",ethedntatt t
Burt Reynolds and Eddie Al- be realistic. ma. He has entered into his own trooper and company ensue on
b Judge Roy Bean is meant class of filmmaking, relying on the heroic task of saving the
ars the film winds its way down'purely for entertainment, but it his own interpretation of cinema southwest from the herculean
th its undoin - a hiio bt isn't very entertaining. verte, and expressing virtually ; hymenopteras.
really outdof-place football game -Joan Ruhela total disregard for the com-: Suitably, the shenanigans
(often funnier than MA*S*I or* mercial medium. come to a much needed climax'
(M t h 'o Faa i La Chinoise is a film in the in the city's sewer system, with
tes) introers'a oleeh- N or, L classic Godardian tradition. The the ants holding a boy for ran-
ers) introduced by a complete- New World, MLB viewer is pelted with a hurling somper danding ac-
ly inconsistent montage se-cSat.,7,9:15 array of words and images, be- r' gid cards. Natraly, the
quence. It's enjoyable, yes, but George Cukor put together coming virtually breathless in ants meet a fiery death, and
powerful? - decidedly not. one of the greatest tear-jerkers keeping with Godard's hectic the town and perhaps the
-David Blomquist of all time in his 1936 film Ca- cinematic pace. His film, con- world, is forever grateful for
mile based on the Alexandre cerning five young people living not becoming mere workers in
Dumas play, whose heroine in an apartment in Paris, be-
The Mother ntid he Marguerite Gautier has died comes a satirical punch at the a gan ancompared with other
Jwhore in as many versions as the play very revolutionary movement giant insect sagas such as
Cinema II, Aud. A is old. of which Godard is so firmly en- Tarantula and The Deadly Man-
Fri., Sat., 7:30 Greta Garbo plays Marguer- trenched. tis, Them! comes out smelling
A love-and-sex triangle is the ite, the radiant beauty who Whether or not one agrees like roses. But then, a proton
focus of dean Eustache's The ;leaves her protector for the ; with the quasi-Marxist attitude is bigger than an electron.
Mother and the Whore, as a young, impulsive Armand (Rob-, of Godard, one must concede -Jim Valk
youj Rive Gauche dropout ert Taylor). Every tear-jerking that his cinema is a radically al- -
journalist alternates between a cliche possible is found i this tered expression of the film;
slightly older boutique - owner film - inluding Armands re- medium. Perhaps never before Rebel Without a Cause
and a nymphomaniac nurse turn of a handkerchief he saved in film history has one man so Cinema Guild, Arch. Aud.
whom he picks up in a cafe. or months, a duel between rival totally disrupted his tools of Sat., 7, 9
This black - and - white French lovers d a rdeath of consump- communication in order to ad- James Dean made three
film won the Grand Special Jury i Garbo's , isenporty vance a belief that has become movies before his promising
Prize at the 1973 Cannes Film more than just a way of life. i acting career was cut short by
Marguerite and her underplay--

ti
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44
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7
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weekend

ple among us in
search of separate
reality.

relentless
planes of

In all honesty, Fantasia is no
more than the Disney studio's
exploration of the artistic possi-
bilities of animation. The film

ated youth a national cult and
James Dean its legendary anti-
hero.
A social melodrama about
juvenile delinquency and young
love in suburbia, Rebel boasts
sensitive performances by Dean
Natalie Wood and Sal Mineo. All
three portray troubled youths
rebelling from (despite the title)
a variety of causes, especially
parents who (sob) don't really
care.
Corniness aside, there are a
lot of graphically violent scenes
in this film; apropos of the time

diums that simply do not trans-
form well into other mediums.
Just as Polish jokes probably
aren't funny in Poland, the Fire-1
sign Theatre is not funny in the
movies.
Perhaps the champions of un-
derground humor in the world of
the 33 1/3, the Firesign Theatre
has not adapted well to the sil-
ver screen. There is something
strained about their humor when
one actually sees the perform-;
ers wandering about in search
of cackles.

ingly spontaneous comedy. is comprised of several cartoon
The material presented in vignettes, each set to a partic-
these follies is not necessarily E ular piece of classical music,
the best suited stuff for the and united as one by intermit-
group. At times, it seems un- tent and often irritating silhou-
comfortable to watch the dis- ettes of the Leopold Stokowski'
array taking place before us, a
feeling that is definitely destruc- orchestra at work.
tive to the very concept that is Fantasia is a fascinating vis-
Firesign Theatre. ual experience, but not at all
--Jim Valk :the other-worldly mind-trip that
* * 'its typical audience's cannabis-
, . induced cries of "Oh wow!"
Fantasa would seem to indicate. I would

in which it was made (1955),
black leather jackets and
switchblades abound. In many,
ways Rebel Without A Cause,
is an interesting period piece,j
but its appeal, thanks to Dean's'
acting, goes beyond its simplis-
tic social themes and action-
packed plot.!
-Judy Lopatin
flay at the Races
Bursley Hall Enterprises
Bursley West Cafeteria
Sat., 9
Those three adorable rascals
assault us again this weekend in
one of their funniest flicks ever.;
Rivaling Night at the Opera in
popularity, Day at the Races
rates way up there as one of
the most thoroughly insane of
the Marx Brothers lunacies.
The story revolves around a'
sanatorium and a race-track, a
ridiculous enough combination
as it it without the Marxes. As
usual, the plot is superfluous
to the gags, which are in abun-
dance throughout.
The gregarious Groucho holds
the reins as the inflappable Dr.
Hackenbush is a scrumptious
smorgasbord of fruity frolics,
one of which is the renowned
scene in which Groucho at-
tempts to buy a race tip from
a chiseling Chico.
If by some incredible stroke
of misfortune, you have never
seen a Marx Brothers flick, this
is the one to see. Day at the
Races is a classic which will
give you a laugh a minute or
more likely three or four.
--George Lobsenz
Firesign Follies
New World, MLB
Sat., 7, 9:30
There are aspects of some me-

A mysteriously defined quali- Campus ' recommend that serious film
ty seems to linger about their In the 35 years since its initial students see this one straight
audio work, adding that extra release, the Walt Disney pro- for maximum appreciation of
attraction of blind zaniness. duction of Fantasia has grown the classically inspired anima-
Bringing this invisible factor from a critically acclaimed box- tion
into view tends to distract and ' office dud into a minor phe-
distort from their goal of seem- l nomenon for those young peo- -Chris Kochmanski
MIDTERMS-ALIENATION WEEKEND
{ MARLON BRAN DO as 1953
THE 'WWILD ONE
This classic 50's film has started the motorcycle gang myth and the youth
rebellion movies. Brando and a young Lee Marvin are opposing gang lead-
ers who ride int2. the same town. Between them, they end up terrorizing
the citizens and creating general havoc while Brando goes after the sheriff's
pretty young daughter. Based on a real incident.
Sat.: James Dean in REBEL WITHOUT A CAUSE
TONIGHT ARCHITECTURE AUD
eL5!NEM GUILDAT 7 AND 9 Adm. Only $1k

a
r

f

'Though it might justifiably
be called a soap opera, Mother
and the Where is Bergman-like
in that it attempts to probe the
psyches of the two female sides
of the triangle. The film is long:
(three hours, 35 minutes), and
relies heavily on the confession-
al dialogue of the "lovers".
The film features fine per-'
formances by Jean - Pierre
Leaud as Alexandre, Bernadette
Lafont as the "mother", Marie,
and Francoise Lebrun as the
"whore", Veronika.
--Sarah Polarek
* * *
The Owl and
the Pussycat
Ann Arbor Film Co-op
MLB, Aud. 3
Fri., 7, 8:45, 10:30
Barbara Streisand, in her
first non-musical role, stars in
this copmedy as an improbable.
hooker with a heart of gold. As
the "pussycat", she disrupts the
life of "owlish" George Segal,'
And the results are entirely
ptedictable.
Most of the humor of Owl and
the Pussycat is based on sar-
casm, insult, and Miss Streis-3
and's hurling of some ordinary,
if vulgar words at Segal. In
1970 when this film was made,
this all might have seemed dar-
ing. But today it is only bor-
ing.
The film does have its mo-
ments, however. Many of these
belong to. George. Segal, who at
the time was just beginning to
develop his comedic talents aft-
er several straight dramatic
roles. He is particularly effec-
tice in one of the few genuine
moments of hilarity of the film
when he gets behind a goldfish
~5i

ing of Gautier's famed con-
sumptive cough are the only
things which save Camille from,
soap opera fare. Bring a hand-"
kerchief.
-David Crumm
* * -

:4 S *

ucauiw d a muunon eacci-
dent at age 24. Rebel Without A
Cause, his second, made alien-}

Horror of Dracula
Law School Film Series
100 Hutchins Hall
Fri., 7, 10
Tn the late '40s and early 6s

III LIn ., au . Jall s,. S,.... ny ,
The Wild One 'Hammer Films ground out a
Cinema Guild, Arch. Aud. series of stylish horror produc-
Fri., 7, 9 'tions noted for their bosomy
The Wild One was the first 'leading ladies and then-explicit
true "bike" film made, yet its gore. The Horror of Dracula I
influence can be traced to the was their second such effort and '
enormously successful "Easy j their best.
Rider. Despite the passage of ' Dracula introduced American
20 years, Wild One (1953) is still moviegoers to British actors
a powerful experience. It is a Christopher Lee and Peter
frightening, chilling look at what Cushing, as the blood.starved
was then a dangerous and omi-ICount and the vampire hunting
nous element of youth. The' Dr. Van Helsing, respectively.
' -- -

presents
COX AND BOX
--- A MUSICAL COMEDY -
Every Friday and Saturday
DINNER COCKTAIL
SHOW SHOW
6:30-$8 A,0:30-$2
CALL HURON HOTEL FOR RESERVATIONS:
483-1771
"PATCHWORK"
LIGHT ROCK and OLDIES
in Huron Lounge Fridays & Saturdays

Warhol'$
AMISAWOLS F"PANtf£N&TE1N .A Fim by PAUL 1DMRSEY " A CARLO PONT 8-SAUNSKIRG-ftASSAM P"OOUCflOI
N'kO NURIUWMS )7ASAW1T3 COLOR " A DRYANSTON PICTURES RELEASE
SHOWTIMES: MON.-THURS. 7:00-9:00
FRI. & SAT. 7:00-9:00-11:00
SUN. 5:00-7:00-9:00

1

DINNER THEATRE'

761-9700

,a

S-.-- ---!-A

..

CINEMA
Ann Arbor Film

11 in assciation with
Cooperative presents

"Jean Eustache shows the influences
not only of Bertolucci and Rohmer
but also of Godard and Warhol in

Ann Arbor Premiere

Bernadette LaFont " Jean-Pierre Leaud a work that is nevertheless very
Francoise Lebrun much his own. There's a stark beauty
and honesty. His leading players are
,,+: " ;peccable in their revelation of
F l
JUDITH CRIST, New York Mogazine
.JEAN EUSTACHE'S
MOTER

I
t
i(
I
I
I
i
k
I
E
{

I

THE

IT'S THE SAME GUY-
BUT A WHOLE NEW BALL GAME
"THE LONGEST YARD" is a movie that cracks
a lot of jokes. And a lot of bones. Burt Reynolds
stars-tough, sassy-and always that fire.
Reynolds is at his most virile. The wrath of
a woman scorned starts his trouble. However,
he's got some wrath of his own. And the last 45
minutes of the film is unlike anything you have
ever seen. It will have you howling and cheer-
ing like no movie ever has.
"THE LONGEST YARD" is about life. And
it's about fighting back. It's about good over
evil. And about laughing uproariously at them
Iboth.
"THE LONGEST YARD" is a fierce, funny
movie. For men, for women, for everyone.
"RANKS
WITH THE
BEST..
,.. A GEM
OF A
...... ,r .. . ,

603 E. LIBERTY 0 DIAL 665-6290

THEATRE
TAKES PRIDE
IN PRESENTING
TO YOU...

$250 s5*
FRI.-SAT.-SUN.
UNITED ARTIST'S
BIFF ROSE

AND

THE

PARAMOUNT PICTURES PRESENTS
AN ALBERT S.RUDDY PRODUCTION

_

-I

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